During her mature years 1920–40, Ebba Carstensen balances stylistically on the border between Cubism and Expressionism. In terms of motifs, she draws heavily on the world of her childhood, from the family chicken coop to the cows in the field. In addition, the period results in many still lifes, interiors, portraits, landscapes and forest scenes. Her colour scheme is consistently dark, heavy and warm, as in this still life with flowers.

At the time, her work both earned her publicity as well as criticism. Fortunately, some of the reactions were positive, including from the art historian Vilhelm Wanscher, who is a warm advocate for her. In his review of KE, “Efteraarsudstillingen”(The Autumn Exhibition), he writes in Politiken on 7 November 1924: "Ebba Carstensen has power. Truly a modern painter. Everything that Cubism and the other technical experiments have taught us, especially the effect of alternating colour planes and contrasts in light that break the image and gives it depth, she can do that, and she uses it with her terrific spirit ... We have always known that Ebba Carstensen was good, but there was something that held her back – perhaps simply the lack of support from someone who wanted to buy her paintings – buy them now! Buy it all, including the wife at the washtub in the pathetic kitchen. I appoint Storm-Petersen as our only really young artist and Ebba Carstensen to be his sister. Let her talent reach its full potential.”